, some small measure of it most of
them possess, though of all the forms of intellect, this, and its
sister, penetrative imagination, are the rarest and most precious; but
few painters have reached eminence without some leaven of it, whether it
can be increased by practice I doubt. On the other hand, fewer still are
possessed of it in very high degree, and even with the men of most
gigantic power in this respect, of whom, I think, Tintoret stands far
the head, there are evident limits to its exercise, and portions to be
found in their works that have not been included in the original grasp
of them, but have been suggested and incorporated during their progress,
or added in decoration; and with the great mass of painters there are
frequent flaws and failures in the conception, so that, when they intend
to produce a perfect work they throw their thought into different
experimental forms, and decorate it and discipline it long before
realizing it, so that there is a certain amount of mere composition in
the most imaginative works; and a grain or two of imagination commonly
in the most artificial. And again, whatever portions of a picture are
taken honestly and without alteration from nature, have, so far as they
go, the look of imagination, because all that nature does is
imaginative, that is, perfect as a whole, and made up of imperfect
features; so that the painter of the meanest imaginative power may yet
do grand things, if he will keep to strict portraiture, and it would be
well if all artists were to endeavor to do so, for if they have
imagination, it will force its way in spite of them, and show itself in
their every stroke, and if not, they will not get it by leaving nature,
but only sink into nothingness.

Sec. 18. Instances of absence of imagination.--Claude, Gaspar Poussin.

Keeping these points in view, it is interesting to observe the different
degrees and relations of the imagination, as accompanied with more or
less feeling or desire of harmony, vigor of conception, or constancy of
reference to truth. Of men of name, perhaps Claude is the best instance
of a want of imagination, nearly total, borne out by painful but
untaught study of nature, and much feeling for abstract beauty of form,
with none whatever for harmony of expression. In Gaspar Poussin, we have
the same want of imagination disguised by more masculine qualities of
mind, and grander reachings after sympathy. Thus in the sacrifice of
Isaac in ou